“Cordelia” Review!

Director: Adrian Shergold

Director Adrian Shergold's "Cordelia" is about a troubled woman (Antonia Campbell-Hughes) who is traumatized by a traumatic event that turns her life upside down. Cordelia is trying to regain her strength and overcome the stress, anxiety, and trauma of surviving a horrific event. She plays in a play and is attracted to Frank (Johnny Flynn), a cello player who lives in her upstairs apartment. During his redemption, hope is renewed by a potential love, and this hope is fleeting after some revelation in the second and third acts. One weekend his twin sister Caroline (also Campbell-Hughes) goes on a trip with her boyfriend, leaving Cordelia to fend for herself. At the height of a new chapter in her life, Cordelia finds herself questioning everything when someone starts making fun of her.

The build-up to that great moment when Campbell-Hughes threw Flynn against the wall is slow-burning, but downright impressive. The atmosphere slowly fills with tension and mystery as Cordelia catches up with her mental fortitude to face the impending danger. However, when the film reaches its climax and everything is revealed, it quickly pulls the rug and gets rid of perfection. Despite a dynamic main performance by Campbell-Hughes and a charming turn from Flynn, the film hits a wall in its third act when it fails to fully recognize the relationships between the characters. This ending provides no clarity or clarity about what Cordelia and Frank are doing to each other.

When the actors play brilliantly with each other, giving us the sweetest taste of the erotic psychological thriller promised in that poster, they eventually beat them and stun the audience. As Cordelia steps into her power and prepares to face the threat, the entire sequence adds to the drama, and the scene is cleverly done, but the moment of victory is quick when the audience's questions remain unanswered. gets reduced. The narrative leads to the conclusion that the two are at mutual mercy, and only one of them is destined to come out alive. However, the conclusion is not satisfactory as it ultimately gives nothing to the audience.

"Cordelia" is a riddle that seems unfinished. From the first scene, the film dwells on the uncertainty and promise of an explosive ending. But when it concludes that it seems inevitable, it backfires and plunges the viewer into darkness. While the narrative delivers a lot of undesired, the film as a whole is quite engaging. It is a psychological thriller that knows how to play the emotions of the audience very well. Natalie Holt's score touches the heart when dragged into this stressful event. The score is paired beautifully with Tony Slater Ling's calm and serene photography. Shergold's system made all the stops to ensure that spectators were well immersed in Cordelia's journey.

When the film's heroine deals with an identity crisis and escapes impact, the film goes through a similar journey. Like Cordelia, it begins with nostalgia, but as it continues, it's unpredictable and intriguing. Just as she hits a wall of proverbs, so does the film. "Cordelia" is frustrating to get under the skin, but as it nears its final stage, it's more frustrating than good. And no matter how good the acting or skillful filmmaking, a bad ending can't be overcome.

Please watch the trailer: